Christian Dillingham - As It Relates To Now

Label: Shifting Paradigm Records, 2026

Personnel - Greg Ward: alto saxophone; Christian Dillingham: acoustic bass; Jeremy Cunningham: drums.

Christian Dillingham is a Grammy Award-winning bassist and composer with experience in both the jazz and classical music worlds. As It Relates To Now marks his third album as a leader and his first in a trio format, featuring prominent alto saxophonist Greg Ward and discerning drummer Jeremy Cunningham, both accomplished bandleaders in their own right. This highly compatible chordless trio, hailing from Chicago, embraces Dillingham’s new acoustic musings with warmth, acuity, and a strong collective purpose. Much of the inspiration stems from the social and political tensions of our times.

The title track opens the album with an upbeat pop-rock feel that is simultaneously soulful and grounded, adhering to a floating sense of gravity propelled by an earworm groove. Dillingham and Cunningham lock in instantaneously, creating a tight textural foundation for Ward’s crisp alto work, though it is the bassist who first steps forward with a resolute improvised statement. “Obsoletion” rings out with clarity and a welcome sense of risk, sounding cohesive and narratively compelling throughout. Dillingham’s dark timbral palette and robust tone play a crucial role in the piece’s expressive power.

Radiating a glimmering brightness, “Special Relativity” thrives on dazzling saxophone-bass unisons before settling into an insistent swing powered by Dillingham’s driving lines and Cunningham’s tasteful percussion. The track concludes with an exhilarating exchange of trading eights with the drummer. Equally committed to swing—thrusted by walking bass and skip-ride cymbal patterns—“Delusional Grandeur” is invigorated by an orthodox hard-bop spirit, proving that the trio remains deeply connected to jazz tradition.

The improvisation-free “Behind the Horizon” adopts a more solemn and atmospheric tone, underpinned by mallet work while arco bass and saxophone unfold in parallel motion. By contrast, “Wooden Laws” is structurally bold, its sparkling theme initially presented in seven before shifting seamlessly into a familiar 4/4 rock progression. This transition opens the door for Ward and Dillingham to develop their charismatic phrases and melodic ideas. Later, pungent rhythmic attacks steer the piece toward more abstract and exploratory terrain before the trio returns convincingly to the main theme.

Dillingham once again proves himself a thoughtful and purposeful bandleader. None of the individual performances, however strong, feels obtrusive; instead, each serves the collective goal of creating intelligible and easily relatable  contemporary music.

Favorite Tracks:
01 - As It Relates To Now ► 02 - Obsoletion  ► 05 - Wooden Lawns

David Ambrosio's Civil Disobedience

Personnel - Donny McCaslin: tenor and soprano saxophone; Ingrid Jensen: trumpet; Bruce Barth: piano; David Ambrosio: bass; Victor Lewis: drums.

Civil Disobedience, a formidable quintet led by American bassist, composer, and activist David Ambrosio—a strong presence on the New York scene for more than 30 years—focuses on the current state of America while honoring social change through nonviolent action. And what better way to do it than through music? The quintet clicks into place, performing five relatively obscure Blue Note compositions from the late 1960s by vibraphonist Bobby Hutcherson, drummer Joe Chambers, saxophonist/flutist James Spaulding, and composer-saxophonist Harold Land.

Reviving an irresistible, Art Blakey-like drive, Hutcherson’s “For Duke P. (aka XYZ)”, recorded in 1968 but not released until 1999 on The Kicker, opens the album in infectious minor mode and swinging fashion, evoking hard bop at its most contagious. Written for pianist Duke Pearson, the piece launches its improvisational section with a vibrantly melodic bass solo, leaving ample room for timely responses from veteran drummer Victor Lewis. The powerhouse frontline of tenor saxophonist Donny McCaslin and trumpeter Ingrid Jensen injects indomitable energy, guided by faultless narrative logic, superior articulation, and sharp motivic instincts.

Spaulding’s “A Time To Go” is an aching, dreamy rubato ballad dedicated to Martin Luther King Jr., sophisticatedly harmonized by pianist Bruce Barth, with Ambrosio’s bass lines providing the essential connective tissue. “Poor People’s March”—written by Land for the 1968 Poor People’s Campaign—flows in an animated 3/4 meter, unified by bright unison lines and inspired improvisational passages in which every member stretches out, creating a compelling sense of musical democracy.

The curiosity these compositions inspire is matched by their elegance, and the two pieces by Chambers exemplify that balance perfectly. “Irina” is a post-bop delight with a distinctly Wayne Shorter-esque aura. Introduced by Lewis’ marching snare, this exquisite modal number unfolds naturally through shifting meters and nuanced harmonic movement. On soprano saxophone, McCaslin injects tension and excitement, his notes rising and falling with resolute purpose, while Barth’s majestic keyboard sweeps guide the piece toward its conclusion. The other Chambers composition, “Ankara”, was, like “Irina”, recorded in 1968 but only released in 1980 on Hutcherson’s Patterns. Introduced by Ambrosio, who later settles into a finely crafted groove in seven, the tune arrives wrapped in a subtle exoticism, thriving on Lewis’ tickling hi-hat work and the inspired improvisations of Jensen and Barth.

With confidence and tenacity, Ambrosio’s Civil Disobedience—featuring superbly chosen repertoire and committed performances throughout—makes a great debut, emerging as a social and musical manifesto of the highest order.

Favorite Tracks:
01 - For Duke P. ► 03 - Irina ► 05 - Ankara

Chris Van Voorst Van Beest Trio - Bye Design

Label: Adhyaropa Records, 2026

Personnel - Chris Van Voorst Van Beest: bass; Zach Lapidus: piano; Nathan Ellman-Bell: drums.

New to me, Chris Van Voorst Van Beest is an American bassist and composer living in Brooklyn, New York. A member of the Danny Fox Trio since 2011, he also recorded with the late Frank Kimbrough on the vinyl-only album Meantime (2021). Here, joining forces with pianist Zach Lapidus and drummer Nathan Ellman-Bell, he gives his compositions well-defined structures, infusing them with contrast, counterpoint, and a subtle sense of uncertainty.

The jauntily rhythmic opening piece, “DDT”, showcases his ability to blend chamber jazz and contemporary classical elements with complete naturalness. Impeccable synchronicity, contrapuntal interplay, and effortless interaction define the trio’s approach from the outset.

Not given to sudden mood swings or radical transformations, the trio shapes “Reactor” through velvety brushwork, a firm bass foundation, and lyrical pianism whose poignancy recalls Bill Evans. Continuing along a similar path, “Rainy Day Music” offers a bewitching affability in waltz form. Also set in 3/4, “Bye Design” feels nearly telepathic as the trio gradually builds a compelling density, culminating in particularly salient drumming toward the end.

“Pastiche” flows naturally despite its challenging 5/8 meter and intricate rhythmic interplay. Simultaneously grounded and exploratory, it finds Lapidus’ piano blending with—and soaring above—the strong internal engine created by Van Beest and Ellman-Bell. “Open Broken” feels somewhat anti-climactic in its impressionistic third-stream current, especially when contrasted with the more energetic “Three Moods”, which closes the album on an uplifting note. Its epic contours within an advanced post-bop framework recall the orchestrational ingenuity of Charles Mingus. Throughout, the trio’s consonant sonic language is enriched by sly, insinuating hooks delivered with intention and control.

A little more friction would be useful at times, yet Van Beest’s imagination continually feeds the trio with organic frameworks, tonal sophistication, and a strong compositional identity.

Favorite Tracks:
03 - Rainy Day Music ► 06 - Pastiche ► 10 - Three Moods

Simon Moullier - Ceiba

Label: Self released, 2026

Personnel - Simon Moullier: vibraphone; Lex Korten; piano; Rick Rosato: bass; Jonkuk Kim: drums; Keita Ogawa: percussion (#2,5).

Dexterous 32-year-old vibraphonist and composer Simon Moullier offers new revelations with a keen sense of balance on Ceiba, his sixth album as a leader. Drawing from a broad musical vocabulary, the France-born, New York-based artist takes credit for all of the album’s vitally engaging compositions, delivering music that feels both fresh and firmly grounded. Inspired by the ceiba tree—a symbol connecting time, place, and people—the album benefits greatly from the extensive live work Moullier has done with his working quartet, featuring pianist Lex Korten, bassist Rick Rosato, and South Korean drummer Jonkuk Kim. Japanese percussionist Keita Ogawa appears as a guest on two tracks.

The enveloping title track, inspired by a Mozambican drum groove, opens the album with modal sophistication, occupying a space somewhere between Bobby Hutcherson and Kenny Garrett. Both Moullier and Korten display penetrating lyricism in a piece whose complex thematic material sounds remarkably effortless and smooth on the ear. “Lotus Pt. 2” extends the ideas introduced in the first installment on Elements of Light (2024), unfolding as a soothing ballad propelled by brushwork and crowned by a gorgeous vamp-driven finale.

“Fuji”, inspired by the iconic Japanese mountain, feels as though post-bop and Latin music have merged, recalling the emotionally charged fusion side of Pat Metheny. The piece is distinguished by advanced improvisational language and Ogawa’s colorful percussion, which also enhances the Brazilian-flavored “Baião”, a harmonically rich composition whose melodic contours evoke both Djavan and Toninho Horta. Pushing in a slightly different direction, Moullier also cites Djavan as an influence on “Apollo”, where a triumphant six-beat groove takes command.

“Iron Giant” is another modal tour de force, built around a bright and inquisitive theme, with Rosato and Kim laying the ideal foundation for the sure-footed improvisations that follow. “Ancient Ones” radiates post-bop brilliance in a waltzing meter, shifting the music’s weight without increasing its density. Written in Peru and inspired by the Andes, it balances elegance with momentum. “Mr. Hutcherson” is an uptempo post-bop romp driven by Rosato’s snappy walking bass and Kim’s effervescent drumming, serving as an unmistakable homage to the late vibist Bobby Hutcherson.

With a highly percussive attack, Moullier seems to sing through his instrument, functioning both as a commanding improvisational force and as the glue that gives the ensemble its distinctive identity. A refined melodicist with an exceptionally fluid musical language, he continues to deepen and expand his artistic voice.

Favorite Tracks:
01 - Ceiba ► 02 - Fuji ► 03 - Iron Giant

Helen Sung Big Band - Oracles

Label: Sunnyside Records, 2026

Personnel - Trumpets & Flugelhorns: Tatum Greenblatt, Mike Rodriguez, Alex Norris, Nathaniel Williford; Trombones: James Burton III, Sara Jacovino, Willie Applewhite, Gina Benalcázar (bass); Saxophones: Dave Pietro (alto), Alejandro Aviles (alto), John Ellis (tenor), Nicole Glover (tenor), Andrew Gutauskas (baritone + bass clarinet); Rhythm section: Helen Sung (piano), Vicente Archer (double bass); Adam Cruz (drums), Samuel Torres (percussion). 

You’ll find exquisitely crafted arrangements conducted by trombonist Alan Ferber on Helen Sung’s big band outing, Oracles. The 17-piece ensemble tackles her original compositions alongside tributary renditions with lyrical grace and passion. Here, Sung pays homage to her former teachers at the Thelonious Monk Institute of Jazz, those who have most profoundly shaped her artistic journey.

With faultless attention to dynamics and timbres, she opens the album with “Convergence”, a marvelous piece culled from her album Sung With Words (Stricker Street, 2018). A beautifully layered introduction places Andrew Gutauskas’s robust baritone saxophone one step ahead, prior to trumpeter’s Alex Norris energetic solo, embellished by vibrant horn fills and orchestral excitement. The piece then settles into a swinging drive that invites Sung and tenor saxophonist John Ellis to build daring statements.

“Samba Da Gumz”, by legendary trumpeter Clark Terry, receives a chamber-like, horn-centered treatment that flows directly into “Positively C.T.”, Sung’s affectionate dedication to him. This animated, swing-infused romp features spirited solos from alto saxophonist Dave Pietro and trombonist Willie Applewhite before erupting into a trumpet-driven climax involving all four trumpeters over a galvanizing, double-time blues form.

Fully committed to the date, Ellis remains a central presence throughout, especially on the pieces honoring saxophone giant Wayne Shorter: on “Diana”, soprano saxophone and keyboards intertwine gracefully in a measured duet, while Sung’s “Wayne’s World”, flowing effortlessly in five, combines rich harmonic movement, rhythmic ingenuity, and compelling improvisations from tenor and piano.

Authoritative bass master Ron Carter is celebrated in “Mr. Virtuoso”, a time-shifting composition that highlights vigorous activity in the lower register while baritone saxophone and bass trombone solos unfold with commanding presence. The band also delivers Carter’s uptempo “R.J.” with equal measures of exhilaration and conviction.

The album concludes with Horace Silver’s “Peace”, a performance focused on the serenity of the melody without relying on featured soloists. But before that, one indulges in the Pianism triptych, dedicated to Barry Harris, Kenny Barron, and Herbie Hancock. “Pianism III”, propelled by sharp rhythmic accents and Torres’ Latin percussion, finds Sung trading fours with several horn players in one of the album’s most engaging exchanges. 

Sounding more mature and imaginative than ever, Sung rises to the occasion with dazzling virtuosity. Based on what unfolds throughout Oracles, her mentors have every reason to be proud of her sophisticated orchestrations.

Favorite Tracks:
01 - Convergence ► 05 - Wayne’s World ► 06 - Mr. Virtuoso ► 11 - Pianism III

Florian Arbenz feat. Bill Frisell and Greg Osby - Quiet Lights

Label: Hammer Recordings, 2026

Personnel - Florian Arbenz: drums; Bill Frisell: guitar; Greg Osby: alto and soprano saxophone.

Swiss drummer and composer Florian Arbenz, known for his Conversation series, returns with Quiet Lights, featuring regular collaborator Greg Osby on saxophones and a new addition to his circle of musical associates: the remarkable Bill Frisell on guitar.

Boasting a deep Americana feel, “Homenaje” is layered with percussive dexterity, a coherent saxophone narrative, and a blend of bluesy and folksy guitar textures. Osby and Frisell drift in and out of the musical landscape before gradually bringing their lines into closer dialogue around the second minute. The trio becomes even more integrated as Frisell expands his chordal work, radiating beauty through his unmistakable tone. Osby responds with denser phrasing and a confident attack that heightens the tension, while the trio eventually plunges into a sleek, dance-like 12-beat rumba-inspired cycle. Also highlighting Arbenz’s affinity for Latin rhythms, “Rhumba” closes the album with a percussive pedal effect—emulating a bass line—and unexpected atmospheric gestures from Frisell, who subtly shapes the environment with electronics.

The mysterious “Chant” is initially underpinned by a sparse, dark-hued drone that, gradually allows light to seep in. Soft guitar textures are joined by shimmering cymbal colors and reflective soprano saxophone musings. The title track, “Quiet Lights”, carries a vibing quality and ambient pulse, weaving an elegant and refined texture. Arbenz employs custom-made percussion instruments alongside the drum kit, and the piece proves immediately accessible to the ear, much like “Lueget vo Berg und Tal”, a heartfelt reinterpretation of a traditional Swiss song reharmonized with cultivated taste.

On “Jammin’ in the Children’s Corner”, written by Arbenz for saxophonist Dave Liebman, the trio reveals especially compelling aspects of its chemistry. Here, rigorous preparation meets genuine spontaneity in an exhilarating journey marked by precise accentuation and a gravitational energy surrounding the alto saxophone lines over agile brushwork. Frisell’s punctuated observations emerge with sharp motivic instinct. “The Barradas Opening”, which alludes to Portuguese accordionist João Barradas, is a bluesy, groove-oriented slow burner distinguished by strong interplay and finely shaped unisons, bridging Americana and contemporary elements with ease.

Quiet Lights doesn’t really pack a punch, but unfolds gracefully without ever needing to force its impact, offering a charming and often introspective listening experience.

Favorite Tracks:
01 - Homenaje ► 02 - Chant ► 03 - Jammin’ in the Children’s Corner

Tyshawn Sorey - Members... Don't!

Label: Pi Recordings, 2026

Personnel - Adam O’Farrill: trumpet, electronics; Mark Shim: tenor saxophone; Lex Korten: piano; Tyrone Allen: bass; Tyshawn Sorey: drums.

Master drummer, multi-instrumentalist, and composer Tyshawn Sorey possesses a rare gift for blending composed and improvised material into richly rewarding forms. His new double album—recorded live at The Jazz Gallery—reimagines and reframes Members, Don't Git Weary, the landmark 1968 work by Max Roach, with the support of a brilliant quintet. Trumpeter Adam O'Farrill and saxophonist Mark Shim ignite the frontline, while the volcanic rhythm section features rising younger-generation talents: pianist Lex Korten and bassist Tyrone Allen. The result is astonishing—a series of expansive, long-form explorations shaped by open modal frameworks and fearless interaction. Like the album that inspired it, Members…Don’t! emphasizes resilience amid social unrest.

Stanley Cowell’s “Abstrusions” kicks off with a swirling dance between piano and trumpet, balancing convergence and divergence with remarkable fluidity. Sorey gradually folds drums and cymbals into the texture, integrating them organically into the evolving fabric, while Allen initially appears detached—an impression soon revealed to be deceptive. O’Farrill and Shim continuously push beyond conventional boundaries, darkening the sonic canvas without falling into haziness. Another Cowell composition, “Effi”, erupts into a blazing tour de force, with O’Farrill and Shim exchanging lines freely over the dense, overheated foundation. The music’s energy is utterly contagious, transforming the performance into a palpable act of collective resistance.

Bassist Jamie Merritt’s “Absolutions” begins with Korten’s unguarded pianism—simultaneously lyrical and abrasive—before O’Farrill enters with piercing commentary over dazzling chordal clusters. Strong polyrhythmic currents emerge, while tasteful electronic textures subtly enrich the modal atmosphere. Cowell’s “Equipoise” is divided into two parts bridging the transition between discs. Part 1 explores shifting meters, whereas Part 2—an 18-minute odyssey of luxuriant elaboration—features simultaneous trumpet-saxophone improvisations, a contemplative bass solo, an extraordinary piano dissertation buoyed by spirited cymbal splashes, and exhilarating bar tradings between O’Farrill, Shim, and Korten.

The second disc also includes “Libra” by saxophonist Gary Bartz, which the ensemble approaches from multiple perspectives, combining groove-heavy post-bop propelled by a firm backbeat with the spiritual intensity associated with Pharoah Sanders. Shim is particularly outstanding here, opening the improvisational field with husky-toned fluency and remarkable flexibility. Vocalist Fay Victor appears on the closing title track, adding another expressive dimension to the music.

Members…Don’t! burns with fierce conviction and creative urgency, emerging as a contemporary suite of tremendous vitality. Few musicians today possess Sorey’s combination of compositional sophistication, improvisational fearlessness, and experimental imagination. This is nothing less than a modern masterpiece.

Favorite Tracks:
01 - Abstrusions ► 02 - Effi ► 03 - Absolutions ► 06 - Libra

Joe Lovano - Paramount Quartet

Label: ECM Records, 2026

Personnel - Joe Lovano: tenor axophone, G mezzo soprano saxophone, tarogato; Julian Lage: guitar; Asante Santi Debriano: bass; Will Calhoun: drums.

Joe Lovano, a saxophonist and composer with an unmistakable touch and tone, introduces a new quartet—Paramount—working alongside guitarist Julian Lage, bassist Asante Santi Debriano, and Living Colour drummer Will Calhoun. Across seven tracks—five Lovano originals and two carefully chosen covers—the album creates expansive settings for conversational interplay and individual expression, balancing solid post-bop foundations with adventurous improvisational freedom.

With “First Song”, written by Charlie Haden, the quartet embraces the minor mode with almost mystical elegance. Introduced by a lyrical guitar prelude, the piece unfolds as a poignant, deeply beautiful ballad that breathes with longing and emotional warmth. Its harmonic cycle becomes fertile ground for expressive solos from Lovano—whose singing lines radiate melodic richness—and Lage, whose soaring phrases are packed with harmonic sense. The other cover, Wayne Shorter’s “Lady Day”—composed in honor of Billie Holiday—retains the romanticism and emotional gravity of the original while filtering it through a sophisticated post-bop lens.

Originally featured on Lovano’s 2001 album Flights of Fancy, “Amsterdam” ventures decisively into avant-garde territory. Looser and more ambiguous in structure, it favors improvisational exchanges centered on one or two instruments at a time. Lovano and Lage articulate the theme together before the music opens into simultaneous improvisation, later shifting into a bass solo over guitar textures and a saxophone meditation supported only by drums. Similarly unconcerned with conventional forms, “The Great Outdoors” rejects standard harmonic progressions in favor of spacious rubato exploration. Haunting, fluid, and open-ended, it finds Lovano weaving in and out of the ensemble texture with commanding soprano sax work.

The album’s rhythmic engine comes fully alive on “Fanfare For Unity”, an animated and playful piece elevated by Calhoun’s exceptional drumming. The quartet sounds genuinely exhilarated here, and that joy transfers directly to the listener through their sharp wit and dynamic interaction. In contrast, “The Call” adopts a more atmospheric approach: Lovano’s G mezzo-soprano saxophone pours out dense streams of notes over arco bass drones and nuanced percussion, while Lage’s serene guitar lines evoke rays of light piercing grey clouds. The piece closes with beautifully intertwined saxophone-guitar unisons.

The final track, “Congregation”, carries a subtle Americana flavor, allowing the quartet’s narrative sensibility and exploratory spirit to emerge through notes that shimmer and dance with melodic instinct, blues-inflected phrasing, and effortless cool. Lovano has always been an endlessly inventive musician with expansive creative horizons, and this Paramount Quartet reveals yet another compelling chapter in his prolific career. Marked by deep listening, trust, and instinctive communication, this music deserves the highest attention and admiration. 

Favorite Tracks:
01 - First Song ► 02 - Amsterdam ► 04 - Fanfare For Unity

Pat Metheny - Side-Eye III+

Label: Uniquity Music / Green Hill Records, 2026

Personnel - Pat Metheny: guitar, synth; Chris Fishman: keyboards, piano, organ; Daryl Johns: bass; Joe Dyson: drums + guests.

World-class guitarist and composer Pat Metheny establishes a fruitful partnership with keyboardist/organist Chris Fishman and drummer Joe Dyson on Side-Eye III+. This core trio—composed of younger-generation musicians with remarkable versatility—is further strengthened by bassist Daryl Johns, while Metheny also enlists 15 additional musicians and vocalists for the project, including harpist Brandee Younger and keyboardist James Francies (he contributes organ textures to the gospel and R&B-infused “Urban and Western”).

The opener, “It On It”, launches the album with kinetic energy and a superbly polished sound shaped by the trio’s extensive touring experience. Metheny’s unmistakable guitar tone propels the central riff forward, while Fishman supplies sleek harmonic momentum over Dyson’s restless, bubbling drumming. The piece thrives on strong thematic development, leading naturally into colorful patterns, soulful guitar improvisations, vocal embellishments, rhythmic staccatos, and fluid key changes. A calmer backdrop supports Fishman’s expansive synth solo before Dyson reasserts himself with explosive stamina ahead of the theme’s return.

“Don’t Look Down” emerges as one of the album’s true highlights—a marvelous 3/4 composition blessed with an irresistible groove and a memorable melody steeped in Americana. Metheny’s solos, alternating between crystalline clean tones and synth-inflected textures, soar over Dyson’s consistently impressive rhythmic work. “Make a New World” unfolds with warmth and a subtle gospel flavor, while “Se-O”, refusing to switch gears entirely, introduces Latin-tinged undercurrents without abandoning its contemporary jazz foundation. Fishman particularly shines on the latter, delivering a fluid fusion-style improvisation, but there are also incredible rhythmic accents, dynamic drum fills, and shimmering cymbal splashes.

Metheny’s compositions, at once haunting and forward-moving, encourage the ensemble to discover new freedoms through constant interaction and stylistic elasticity. Yet, the closing ballad “So Far So Good” offers a gentler, more introspective atmosphere, distinguished by the soothing resonance of Metheny’s acoustic guitar. His unwavering commitment to narrative expression, combined with the ensemble’s palpable dedication to the music, makes Side-Eye III+ a first-class addition to his ever-evolving body of work.

Favorite Tracks:
01 - It On It ► 02 - Don’t Look Down ► 03 - Make a New World

Harry Skoler - Echoes

Label: Red Brick Hill, 2026

Personnel - Harry Skoler: clarinet; Bill Frisell: guitar; Dezron Douglas: bass; Johnathan Blake: drums.

With a voice unmistakably his own, clarinetist and composer Harry Skoler traverses a variety of open-ended atmospheres, displaying an instinctive ability to merge traditional jazz language with contemporary sensibilities in ways that continue to shape his artistic identity. On his seventh album as a leader, Echoes—a tribute to his jazz heroes—Skoler is joined by guitar visionary Bill Frisell and reunited with the rhythm section from Red Brick Hill (Sunnyside, 2024): bassist Dezron Douglas and drummer Johnathan Blake. Produced once again by saxophonist Walter Smith III, the album draws from familiar ingredients while embracing a welcome sense of risk through occasional ventures into avant-garde territory.

“Evocation” and “Allusion”, two irresistibly poignant clarinet-guitar duets, open and close the album with understated beauty. Short atmospheric interludes appear throughout, but “Study in Orange”—dedicated to pianist Bill Evans—marks the first rhythmically compelling moment, propelled by the superb interplay of Douglas and Blake, who know precisely when to intensify and when to simply sustain the flow. Frisell settles into an introspective, cinematic mood, while Skoler’s clarinet lines evoke dreamlike imagery and quiet fantasy.

“JW, Michelangelo & 40 Cent Burger”—a tribute to pianist James Williams—features Douglas’ bass dancing gracefully over a lilting waltz pulse. The bassist initiates the improvisational sequence before Frisell contributes a highly methodical and texturally rich solo, followed by Skoler, who makes a vivid impression by pushing beyond conventional boundaries with passionate phrasing.

“Marian”, dedicated to pianist Marian McPartland, possesses the softness and elegance of velvet, while “Thank You”—for Teddy Wilson—may appear elusive in direction yet reveals intriguing rhythmic dynamics and groove interplay. “Waiting Patiently”, honoring clarinetist Benny Goodman, is stirred effervescently in a vamping 3/4 flux marked by a sturdy groove.

“Pow!”—a salute to vibraphone master Lionel Hampton—takes shape as a whimsical avant-garde excursion, centered on riff-based volleys against a slower harmonic backdrop and Blake’s restless percussive agitation. It also includes an unaccompanied drum passage. The quartet’s gift for expanding minimal material into richly textured interaction is equally evident on “Never Played in Syracuse”, dedicated to Miles Davis, a cyclical funk-infused pop-rock piece where Skoler improvises fervently over distorted guitar harmonies.

The quartet has developed a genuine musical empathy that radiates throughout the recording, making Echoes an album that rewards repeated listening.

Favorite Tracks:
02 - Study in Orange ► 03 - JW, Michelangelo & the 40 Cent Burger ► 11 - Pow!

Chris Potter - Alive With Ghosts Today

Label: Edition Records, 2026

Personnel - Chris Potter: tenor and soprano saxophone; Bill Frisell: guitar; Burniss Travis: electric bass; Nate Smith: drums; Rane Moore: clarinet; Zekkereya El-magharbel: trombone; Sara Caswell: violin. 

Chris Potter, a top-tier saxophonist and composer with a brilliant 35-year career in contemporary jazz, unveils a compelling new suite inspired by abolitionist John Brown’s Raid of 1859. The music addresses the complexities and contradictions of America within an encouraging, deeply expressive framework, where Potter’s full-bodied tenor sound emerges through surging solos marked by clarity, emotion, and conviction.

For this septet project, Potter assembles a remarkable group of musicians who share his fearless creative vision, many of them interpreting his compositions for the first time—among them guitarist Bill Frisell, clarinetist Rane Moore, trombonist Zekkereya El-Magharbel, violinist Sara Caswell, and bassist Burniss Travis, whose grounded presence anchors the music. The sole returning collaborator is drummer Nate Smith, who previously appeared on Underground (2006) and Imaginary Cities (2015) albums.

The album is framed by the two-part title track, “Alive With Ghosts Today”. The opening section offers a luminous, atmospheric canvas where composed lines unfold with rich color and resonance. Its concluding counterpart, imbued with a Coltrane-like spirit, draws on blues-inflected phrasing and American folk sensibilities.

“Osawatomie Brown”, a highlight, is a buoyant, multi-meter composition shaped by intricate form. Its refined jazz-funk character, with crossover appeal, rests on Travis’ five-note bass groove in 4/4, seamlessly interlocked with Smith’s supple drumming. Potter’s solo is particularly captivating, enriched by purposeful horn interjections, while Frisell contributes a distinctive voice within a subtly off-kilter, blues-based framework.

Activated by Travis’ introductory statement, “The Heavens in Scarlet” begins as a ballad before evolving into a gently grooving, almost reggae-like feel, enhanced by Caswell and El-Magharbel’s textural support. Frisell’s warm, Americana-tinged voicings permeate the piece, which pairs naturally with “This Earth Would Have No Charms for Me”, a chamber jazz waltz introduced by wistful guitar.

“Sister Annie”, named after Brown’s daughter, reintroduces a sleek, funk-inflected pulse with a hopeful, R&B-tinged atmosphere and bright harmonic shading. Meanwhile, “Into Africa” stands out for its dynamic time shifts, opening with a saxophone-led groove quickly taken up by the rhythm section, with Frisell’s exceptional comping underpinning Potter’s forward-looking improvisation. Equally striking, “Mine Eyes” unfolds like a modal work song, gradually building into a mesmerizing, tour-de-force saxophone solo. Its layered polytonal counterpoint—featuring trombone, clarinet, and violin—subtly draws from the melody of the marching song “John Brown’s Body”.

Advocating freedom and peace for everyone, Potter plays his absolute truth with harmonic rigor and wholehearted improvisation. For its message and artistry alike, Alive With Ghosts Today is a precious offering.

Favorite Tracks:
02 - Osawatomie Brown ► 06 - Into Africa ► 07 - Mine Eyes  

Ben Wendel - BaRcoDe

Label: Edition Records, 2026

Personnel - Ben Wendel: tenor saxophone, EFX; Joel Ross: vibraphone, marimba; Patricia Brennan: vibraphone, EFX; Simon Moullier: vibraphone, chromatic balafon, EFX; Juan Diego Villalobos: vibraphone, mallet station, percussion, EFX.

In BaRcoDe, born from a commission by The Jazz Gallery, the accomplished and eclectic saxophonist Ben Wendel explores a bold instrumentation, assembling four mallet specialists—Joel Ross, Patricia Brennan, Simon Moullier, and Juan Diego Villalobos—to interpret five originals and one cover. Showcasing his confident tenor swagger, Wendel weaves together jazz, classical, and new music within an electroacoustic context.

“Clouds” opens the album as a lush homage to the minimalist aesthetic of percussion quartets, pairing ecstatic saxophone lines with uninterrupted streams of vibraphone. Its ternary feel enhances the tune’s exotic character, while the vibraphonists’ layered parts cohere with remarkable precision. “Mimo”, meaning ‘outside’ in Czech, finds Wendel navigating rhythmic dexterity in his soloing. Though the melody carries a strong folk inflection, its blues sensibility remains evident, supported by a percussion section that delivers groove across shifting meters.

For this project, Wendel drew inspiration from the Grammy-winning Sō Percussion ensemble, known for its collaborations with Vijay Iyer, Philip Glass, and Steve Reich. “Repeat After Me”, also featured on Kneebody’s 2025 album Reach, foregrounds unison lines and percussive effusiveness, gradually settling into a gentle groove that takes on a subtle Latin tinge. The vibraphone–marimba combination yields a particularly rich blend of harmony and rhythmic motion.

The extended rendition of Antônio Carlos Jobim’s “Olha Maria”, flowing with a delicate, undulating pulse, preserves the poignancy and reflective tone of the original within a finely crafted arrangement introduced by a memorable preamble. One of the vibraphonists states the main melody before Wendel joins, leading into a focused and emotive improvisation. In contrast, “Birds Ascend”, loosely inspired by British pianist Kit Downes and Scottish folk fiddler Aidan O’Rourke, is largely through-composed, showcasing virtuosic interplay centered on a quick-witted phrase that shifts in pitch.

The accompanists’ use of extended techniques, effects, and impeccable sense of time proves invaluable, reinforcing Wendel’s position at the forefront of expansive, 21st-century post-bop.

Favorite Tracks:
01 - Clouds ► 03 - Olha Maria ► 04 - Repeat After Me

Sean Imboden Large Ensemble - Uncharted Realms

Label: Self released, 2026

Personnel - Sean Imboden: tenor and soprano saxophone, composer.

Last year, on Communal Heart, his debut album with a 17-piece large ensemble, shrewd Indiana-based composer and saxophonist Sean Imboden demonstrated impressive command as an orchestrator. Now he continues to explore expansive big-band writing with Uncharted Realms, which he describes as an invitation to envision better possibilities in our world—expressing a longing for connection, understanding, purpose, and safety.

The album opens with “Flowing Currents”, an anthemic, chamber-like piece layered with stimulating motifs that elevate the ensemble’s collective energy. Originally written for a smaller group, it features Imboden (on tenor) and rock-leaning guitarist Joel Tucker as soloists, both offering glimpses of their distinct voices within a gradual emotional crescendo. The pair also ride powerful waves of improvisation on “When You Look Beyond”, where the energy skyrockets via marching snare authority and an epic-ness that stems from remarkably coordinated contrapuntal passages, allowing contrasting timbres to emerge with clarity and intent.

Imboden gravitates toward rich, thoughtful jazz sonorities, avoiding cliché while crafting detailed and engaging soundscapes. “Balcony”, composed nearly a decade ago and continually refined, exemplifies this approach. Bassist Nick Tucker establishes a firm pedal point over which classically influenced gestures unfold. A seven-beat passage transitions into a sultry, tango-tinged section that frames the theme, opening space for expressive contributions from trombonist Zac Granger and Imboden on soprano. The closing track, “Follow the Kite”, offers a feel-good contrast, propelled by brushes, bass, and guitar in a relaxed flow, with bass clarinet subtly emerging from the texture. Despite its breezy surface, the piece tightens into punchy counterpoint, incorporating lush volleys within occasionally shifting meters.

“The Gentle Giant” revolves around a nuanced six-beat pattern that anchors the bass line. This adventurous piece—partly inspired by Philip Glass and Stravinsky—explores shifting dynamics and features flugelhornist John Raymond in a performance that is both serene and impassioned.

Imboden’s contemporary vision unfolds with clarity and creativity, reflecting a composer who understands how to draw the best from his ensemble. Uncharted Realms is another ambitious and cohesive musical statement.

Favorite Tracks:
01 - Flowing Currents ► 03 - When You Look Beyond ► 05 - Follow the Kite

Caleb Wheeler Curtis - Ritual

Label: Chill Tone Records, 2026

Personnel - Caleb Wheeler Curtis: stritch, soprano saxophone (#8), sopranino (#9), trumpet (#9); Hery Paz: tenor saxophone (#2,3,4,9), flute (#6,7); Orrin Evans: piano (#3,4,5,6); Emmanuel Michael: guitar; Vicente Archer: bass; Michael Sarin: drums.

Caleb Wheeler Curtis, the insightful saxophonist and composer who impressed with Heat Map (2022) and The True Story of Bears and the Invention of the Battery (2024), returns with Ritual, a new album of originals performed with a strong collective spirit and pronounced individuality. Focusing primarily on the stritch—a straight alto saxophone associated with Rahsaan Roland Kirk—Curtis is joined by rising guitarist Emmanuel Michael, bassist Vicente Archer, and drummer Michael Sarin. Cuban saxophonist and flutist Hery Paz contributes compelling lines on six tracks, while pianist Orrin Evans appears on four.

The powerful emotional arc of “Fantasmas”, a searching invocation of ancestry, opens the album with an open-ended bass-and-drums flux, creating fertile ground for the lyrical melody shaped by Michael and Curtis. The guitarist balances inventive phrasing, volume swells, and harmonic color, while Curtis consistently finds the right tone and intensity for his focused yet exploratory narratives. “Bleakout”, conceived during a blackout in Madrid, shifts into modernistic funk with angular vision and rhythmic density, featuring Curtis and Paz in fluid dialogue, united by a shared conversational sensibility.

Slower but steadily purposeful, “Florence” introduces a chamber-like delicacy in a measured 4/4 tempo, enhanced by guitar harmonics and atmospheric piano minimalism. “You Just Can’t Keep the Music”, a duet with Evans, moves from a precise theme in (4+5) additive meter into a brisk 3/4 for its improvisational passages. Evans also features on “Black Box Extraction”, where counterpoint and an energized funk-rock feel—sparked by Sarin’s drumming—are layered with avant-garde intensity. Curtis remains relentless in his fluid ideas, while Paz injects a touch of Latin groove before expanding outward; Michael brings the piece to a close with unrestrained creativity.

“Tenastic” and “The End of Power” may be the most direct pieces on the album, yet they retain an element of surprise. The former’s dense, driving swing—topped by vigorous interplay between Curtis and Paz (on flute) as well as Michael’s tense lines and harmonies—contrasts with the latter’s dreamlike atmosphere where a refined, almost pop-like sensibility is anchored by Sarin’s nimble brushwork.

Curtis’ compositional voice is serious, often intricate, and deeply imaginative. Demonstrating a near-telepathic rapport with his ensemble, he achieves a striking balance between grounded structure and abstract exploration, resulting in music that is consistently engaging and thought-provoking.

Favorite Tracks:
01 - Fantasmas ► 02 - Bleakout ► 04 - Black Box Extraction

Miho Hazama - Frames

Label: Edition Records, 2026

Personnel - Miho Hazama: composer, conductor + Danish Radio Big Band.

New York-based Japanese composer Miho Hazama, who has garnered accolades with her contemporary large ensemble m_unit, displays a maturity far beyond her years. On Frames, the Grammy-nominated composer honors the legacy of the influential Danish Radio Big Band, crafting a new suite inspired by its musical directors, including Bob Brookmeyer, Thad Jones, Ray Pitts, Palle Mikkelborg, and the recently departed pianist Jim McNeely, to whom the album is dedicated.

The album opens with a sense of optimism and devotion to the music. “And The Door Unsealed” unveils cascading sonic layers in succession before settling into a mid-tempo, soulful flow. Driven by a warm swinging energy, the piece features improvisational contributions from guitarist Per Gade—supported by lush horn arrangements—and tenor saxophonist Peter Fuglsang, who extemporizes over an alternate backdrop. A vamp with vertiginous rhythmic accents closes the piece. “Rondo” unfolds with percussive delicacy, showcasing saxophone and muted trumpet in parallel over a gently waltzing cadence that subtly evolves.

“LuLu”, introduced with calm restraint by piano and trumpet, highlights bassist Kaspar Vadsholt in a beautifully integrated solo woven into a low-register texture. “Aura II”, imbued with a Brookmeyer-like sensibility, is framed by illuminating five-beat cycles, while its improvisations drift between rubato passages and a 3/4 pulse. The colorful post-bop of “The Pioneer’s Quest” presents its rich thematic material in dense unison layers, featuring exuberant piano and trumpet solos across lilting 4/4 measures and a contrasting 7/8 section, respectively. The album closes with “The First Notes”, maintaining constant motion in a playful, buoyant spirit.

With compositions rich in memorable themes and thoughtfully structured sections, Hazama sustains cohesion while continually propelling the music forward, demonstrating her refined voice as a modern jazz orchestrator.

Favorite Tracks:
01 - And The Door Unsealed ► 04 - The Pioneer’s Quest ► 05 - Aura II

Gregory Hutchinson - Kind of Now: The Pulse of Miles Davis

Label: Warner Music, 2026

Personnel - Ambrose Akinmusire: trumpet; Ron Blake: tenor saxophone, bass clarinet; Gerald Clayton: piano; Jakob Bro: guitar; Emmanuel Michael: guitar; Joe Sanders: bass; Gregory Hutchinson: drums.

Drummer and composer Gregory Hutchinson, who consistently uses timbre and cymbal color to his advantage, embarks on an enjoyable and occasionally surprising program of tunes connected to and paying homage to the groundbreaking jazz trumpeter Miles Davis. Hutchinson—known for his collaborations with Roy Hargrove, Joe Henderson, Joshua Redman, Ray Brown, and Kurt Rosenwinkel—blends tradition and modernity in his approach, assembling a group of contemporary jazz players whose quality and flexibility fully serve his vision.

Charlie Parker’s hard-bop strut “Ah-Leu-Cha”—a brilliant contrafact of “Honeysuckle Rose” and “I Got Rhythm”—wastes no time drawing listeners in. The initial symbiotic interplay around the theme allows ample space for bassist Joe Sanders and Hutchinson to assert themselves. Not as uptempo as Miles’ version, the piece thrives through a strong, refined statement by trumpeter Ambrose Akinmusire, followed by pianist Gerald Clayton’s candid phrasing and tenor saxophonist Ron Blake’s expansive reach.

Hutchinson and his group render three Miles compositions representing distinct phases in jazz history: “Fran-Dance” is delivered in a simpatico trio setting of piano, bass, and drums; “Bitches Brew” channels experimental curiosity, relying on the contrast between high-pitched trumpet and low bass clarinet before settling into an ostinato-driven funk infused with bluesy hues; and “Circle in the Round” features compelling work by up-and-coming guitarist Emmanuel Michael, who later joins Akinmusire and Blake for the final thematic statement.

Of the album’s 12 tracks, four come from the pen of Wayne Shorter: “Fall” and “Feio” are shaped by evocative guitar textures, as Jakob Bro interacts with Michael over Hutchinson’s inventive figures. “Orbits” and “Water Babies” similarly evoke the composer’s incantatory ambiguity.

Hutchinson’s take-no-prisoners mentality surfaces in Victor Feldman’s “Seven Steps to Heaven”, a nod to Miles’s second great quintet propelled at full swing, while Tony Williams’ “Black Comedy” includes slick lines and solo turns from Blake and Clayton. The album also features three solo drum tracks, each statement purposeful—one of them paying tribute to the drummers who played with Miles.

In an album that never defaults to strict convention, Hutchinson avoids the obvious, favoring nuanced shadings and tuneful rhythms that elevate the material’s overall impact.

Favorite Tracks:
01 - Ah-Leu-Cha ► 06 - Feio ► 09 - Bitches Brew

Immanuel Wilkins Quartet - Live at the Village Vanguard Vol. 1

Label: Blue Note Records, 2026

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Ryoma Takenaga: bass; Kweku Sumbry: drums.

Saxophonist and composer Immanuel Wilkins has emerged as a leading voice in contemporary jazz, building a body of work that feels both tenacious and vital. His latest addition, Live at Village Vanguard Vol. 1, is his first live recording, featuring four extended tracks captured in 2025 at that iconic venue of legendary performances. For the occasion, Wilkins enlisted a tight, intuitive quartet of like-minded collaborators: pianist Micah Thomas, bassist Ryoma Takenaga, and drummer Kweku Sumbry.

“Warriors”, an energetic tour-de-force originally included on his debut album Omega (2020), appears here with extended soloing bravura from Wilkins and Thomas in a modern post-bop setting that showcases harmonic dexterity, melodic balance, and narrative depth. Shades of John Coltrane and Ornette Coleman surface in multiple triplet-infused phrases that fuse technical command with joyful exuberance. Sumbry brings the piece to a close, stretching elastically on the kit within a vamping sequence.

“Composition II”, a lyrical, gently brushed, and narratively-driven 4/4 ballad modeled on J.S. Bach’s Well-Tempered Clavier, invites more reflective consideration and includes a fine bass solo steeped in melodic elegance. Yet, the record’s highlight is undoubtedly Alice Coltrane’s “Charanam”, whose modal spirituality resonates directly with the listener. Each musical gesture leaves a mark—from the piano’s introductory passage to the groove-oriented ritual of the rhythm section and the uplifting, free-flowing riffery maintained by Wilkins, who fills spaces with dazzling in-and-out incursions. The quartet is in top form, and the piece becomes deeply soulful, worming its way into your head.

“Eternal” concludes this first volume by introducing a serious post-bop statement with a perplexing sense of time and a clearly defined thematic melody, before settling into a continuous, measured 3/4 cycle.

Wilkins’ Live at Village Vanguard Vol. 1 offers moments of boundless creativity and deep commitment to the music, its interactive force drawing from diverse musical sources that shape his notably expressive vocabulary.

Favorite Tracks:
01 - Warriors ► 03 - Charanam

Harriet Tubman & Georgia Anne Muldrow - Electrical Field of Love

Label: Pi Recordings, 2026

Personnel - Brandon Ross: electric guitar, banjo, soprano guitar; Melvin Gibbs: electric bass; JT Lewis: drums; Georgia Anne Muldrow; vocals, keyboard.

Harriet Tubman—named after the American abolitionist and social activist—is an idiosyncratic jazz-funk trio that crosses genres naturally with a non-clichéd aesthetic. Here, they place Black Music in a new light in the company of Grammy-nominated vocalist/producer Georgia Anne Muldrow.

Electrical Field of Love channels their passion into 12 concise tracks, demonstrating a magnificent command of mood and atmosphere. Full of strength, “Flowers” opens the proceedings with evocative, mysterious undercurrents. An entrancing hip-hop-inflected rhythm anchors the piece, soon joined by a rugged, distorted tapestry of guitar and bass. The trio continues to rock and funkify in a fevered experimental uproar, with Muldrow’s voice soaring above. Her contributions are even more striking on the ascending “Anatomical Fable of the Elements” and “Isom Dart Was”, which flows with contemporary crossover appeal as funk and R&B are shaped by the trio’s noir imagination.

“Insisting” feels at once vulnerable, volatile, and oppressive, featuring layered, spectral vocals, while “How You Rise” unfolds with transfiguring intensity, opening with Ross’ clamorous, wailing guitar and anchored by Gibbs’ robust 4/4 grooves.

Boasting a powerful sound, “Assata” builds and deconstructs over Lewis’ hypnotic rhythms. Its simple yet effective harmonic treatment gives way to the greater complexity of “Don’t Stand a Chance, After the Boom”, where an insistently cyclic and daringly polyrhythmic approach is enriched by clever electronics and vivid percussion.

“Up From the Gum” conjures a disquieting and perplexing mood, driven by urgent syncopation and a six-beat bass groove at its core. The group crafts immersive spaces that reveal their true musical identity. Similarly, Muldrow’s “A Black Song” unfolds as a self-expressive experiment in jazz fusion, featuring wavering keyboards and a strong rhythmic flow driven by Lewis’ inventive drum figures.

Messages and themes unfold within a narrative concept that often feels like reopening an old wound in order to better heal it. Awash with fresh, intense energy, this is a special collaborative album that establishes a deep-rooted connection to the history of Black Music.

Favorite Tracks:
01 - Flower ► 03 - Isom Dart Was ► 05 - When You Rise ► 08 - Assata

Quinsin Nachoff - Patterns From Nature

Label: Whirlwind Recordings, 2026

Personnel - JC Sanford: conductor; Quinsin Nachoff: tenor saxophone; Roberta Michel: flutes; François Houle: clarinet; Sara Schoenbeck: bassoon; Tony Kadleck: trumpet; John Clark: french horn; Ryan Keberle: trombone; Matt Mitchell: piano; Carlo De Rosa: bass; Satoshi Takeishi: drums; Aaron Edgcomb: percussion; Gene Hardy: musical saw (#2) + Molinari String Quartet.

Cerebral New York-based saxophonist and composer Quinsin Nachoff aims high in his latest outing, Patterns From Nature, a singular musical journey that combines jazz and classical music, film, and physics in collaboration with physicist Stephen Morris and four filmmakers. The project also functions as a live multimedia performance, featuring a superb ensemble with gifted soloists.

Composed with considerable risk and conducted by JC Sanford, the album begins with the four-movement, through-composed suite Patterns From Nature. Unfolding through a refined chamber process, the music features pianist Matt Mitchell on “I. Branches”, a cinematic, tense odyssey marked by chromatic shifts, long tones, and multiphonics over cascading piano. A natural grace emerges from the piece’s technically assured geometry, while percussionist Satoshi Takeishi stands out with a fluid brushes-on-snare technique. His icy cymbal scratches and tonally precise percussion also distinguish the second movement, “II. Flow”, whose contemporary classical feel is reinforced by the Molinari String Quartet’s lachrymose ostinatos and magnetic suspensions.

“III. Cracks”, launched by bassist Carlo De Rosa’s opening statement, unfolds within a controlled, slightly turbulent atmosphere, with creative clarinetist François Houle contributing winding phrases over porous, layered ensemble motions. The final movement, “IV. Ripples”, features Nachoff and trombonist Ryan Keberle alternating passages before merging their sounds in a climactic section, preceded by shifts in pace and texturally intriguing segments. The suite concludes with drones and reverberant percussion.

The three-part Winding Tessellations, a saxophone concerto composed in 2017, follows with polychromatic textures, blurring written and improvised elements within a complex structure. On “I. Winding Paths”, intricate ensemble ornamentation allows Nachoff’s horn to slip into a murky middle register, unfolding in a forward-driven improvisation with deep emotional resonance. Equally vibrant is “III. Tessellations”, an unbridled exploration featuring coiled tenor saxophone lines over a variety of moody tapestries.

Having reached an enviable level of musical maturity, Nachoff demonstrates every facet of his compositional voice. Patterns From Nature is blessed with expert playing, standing as a major addition to the composer’s distinctive oeuvre.

Favorite Tracks:
01 - Patterns From Nature: I. Branches ► 03 - Patterns From Nature: III. Cracks ► 05 - Winding Tessellations: I. Winding Paths ► 07 - Winding Tessellations: III. Tessellations

Niklas Lukassen - Still Waters

Label: Heartcore Records, 2026

Personnel - Ben Van Gelder: alto saxophone, flute (#11); Kit Downes: piano, Hammond organ (#3,5,11); Niklas Lukassen: upright bass, electric bass (#2,8,11), vocals (#11); Francesco Ciniglio: drums // Guests - Kurt Rosenwinkel: electric guitar (#4,9); Wanja Slavin: alto (#5) and soprano saxophone (#8); Geoffrey De Masure: trombone (#4); Céline Rudolph (#7).

Young German bassist and composer Niklas Lukassen—who studied in New York for a few years under the mentorship of Ron Carter and now divides his time between London and Berlin—releases his highly anticipated debut album,

Still Waters, taking the listener on an emotional and dramatic journey in the company of a stellar European quartet featuring British pianist Kit Downes, Dutch alto saxophonist Ben Van Gelder, and Italian drummer Francesco Ciniglio. Special guests contribute their talents to a few tracks on an album composed entirely of original material.

“The Deep” opens the album with a forceful showcase of contemporary sound, leading into “Estuary”, which features memorable ensemble work while fluctuating between exciting odd-metered sections and slower passages. The improvisations by Lukassen and Van Gelder are excellent, offering blistering jazz uplift before wrapping the piece in an eccentric, reticulated groove. “Metamorphosis” highlights the band’s ability to shape-shift seamlessly, even amid complexity, and concludes with the bandleader at the center.

Built on a septuple-meter flow, “Palisades” is a rich excursion in mood and extemporization. The piece, launched by Lukassen’s firmly grounded double-stop groove and featuring enveloping unisons that create an immediate melodic drive, includes expressive statements from French trombonist Geoffrey de Masure, Van Gelder, and distinctive American guitarist Kurt Rosenwinkel, whose presence, sinuous tone, and inimitable vibe also elevate “Rainbow Surfer”. Here, bass and drums swing hard with tight rhythmic focus, sustaining a sense of instant ebb and flow that supports the improvisers’ whims.

Both “Karma” and “The Traveller” feature German saxophonist Wanja Slavin. On the former, with Downes harmonizing on Hammond organ, he converses and then duels with Van Gelder following a lyrical introductory statement by Lukassen; on the latter, playing soprano, he joins the saxophonist—who delivers a portentous solo—only toward the end. This piece carries an agreeable melodic drive and a bossa-inspired groove that brings the snare drum into sharp relief.

There are two tracks with vocals: “Interlude”, sung by Céline Rudolph, and “Luna”, which features Lukassen’s own voice (he previously sang in the German National Jazz Orchestra). Although not the strongest moments, they provide a sense of contrast.

Honing his compositional approach, Lukassen establishes a distinctive sonic space, drifting mellifluously between modernist activity and reformed tradition, all while maintaining a cohesive group identity.

Favorite Tracks:
02 - Estuary ► 04 - Palisades ► 05 - Karma ► 08 - The Traveller